Perception of Computer Generated Images (CGI) in Nigerian made animated films: A cognitive-semiotic view

Authors

  • Uchechukwu Chimezie Ajiwe Nnamdi Azikiwe University
  • Stella Uchenna Nwofor Nnamdi Azikiwe University

DOI:

https://doi.org/10.47941/jcomm.860
Abstract views: 410
PDF downloads: 353

Keywords:

Computer generated imagery, Animation, Perception, Semiotics, Representation

Abstract

Purpose: There has been lots of positive and negative criticisms on the influences and effects of animated images on kids in Nigeria without considering the communicative potentials of such medium from our cultural perspectives. Again, many Nigerians may not have the knowledge that there are quality Nigerian local content animation.

Methodology: This paper looks at the perception of computer generated imagery (CGI) in Nigerian animated films. It examines the nature of the application of CGI in popular Nigerian Animated films by analyzing the techniques used and meanings produced from The images constructed to communicate the ideas of the narratives. This paper is anchored on the framework of cognitive semiotic theory and adopts the qualitative research design to investigate the communication of meanings by use of CGI in Malika (2020), the basis for using cognitive semiotic theory in this paper is that CGI are simulated believable images that denote meanings to communicate encoded cultural ideologies to kids within and outside Nigeria. It is hoped that this study would make better appreciation of Nigerian Animated films and encourage Animators to make more.

Findings: The findings in this study, is that, the use of CGI in object and character representation in Nigerian Animated films as regards reality simulates the simulacra nature of a typical African worldview and bring to life a historical antecedent. It submits that CGI boosts the visual and aural representation of the Nollywood film narratives which allow the viewer to recognize the already established meanings of the codes used in film text. 

Unique Contribution to Theory, Practice and Policy: It also recommends that Animation should be used for promotion and preservation of fast fading Igbo cultures

Downloads

Download data is not yet available.

Author Biographies

Uchechukwu Chimezie Ajiwe, Nnamdi Azikiwe University

Theatre & Film Studies Department

Faculty of Arts

Stella Uchenna Nwofor, Nnamdi Azikiwe University

Theatre & Film Studies Department

Faculty of Arts

References

Buckland, Warren. (2000). The Cognitive Semiotics of Film. Cambridge:

Cambridge University Press.

Camilla Carboni (2007) Film Spectatorship and Subjectivity: Semiotics,

complications, Statisfaction. M. A. Thesis submitted to the Department of

Drama, University of Stellenbousch.

Cobley, P. & L. Jansz (1997). Introducing semiotics. UK or Royston. Icon

Books.Print.

Callus,Paula Animating African History: Digital and Visual Trends. Pre- print.

Oxford encyclopedia.

Danesi, M. (2007). The quest for meaning a guide to semiotic theory and

practices. London׃ University of Toronto Press.

Daniel, Chandler. (2014, 03 July) Semiotics for Beginners’ Modality and

Representation.

Eco, U. (1976). A theory of semiotics. Bloomington: Indiana University Press.

Eco, U. (1979). On the Contribution of Film to Semiotics. In G. Mast & M. Cohen

Film Theory and Criticism: Introductory Readings 2nd Edition. New York:

Oxford UP.

Elsaesser, & Hagener (2010). Film Theory: An Introduction through the senses.

NewYork: Routledge.

Fletcher (2018). An abstract narrative form of film. Can an abstract form of film

successfully include elements of, the concrete representation based,

narrative film form?The Faculty of the Victorian College of the Arts The

University of Melbourne Submitted in partial fulfilment of the requirements

of the degree of Master of Film and Television (by research). University of

Melbourne Gavin Extence, (2008). Cinematic Thought: The Representation of Subjective

Processes in the Films of Bergman, Resnais and Kubrick Thesis submitted

for the degree of Doctor of Philosophy at the University of Sheffield

Department of English Literature. Sheffield

Kristin C. Au (2014). Animation: 2D Versus 3D and Their Combined Effect.

Submitted to the Department of Architecture in Partial Fulfillment of the

Requirements for the Degree of Bachelor of Science in Architecture

Massachusetts Institute of Technology. Massachusetts.

Lade Samuel Mayowa, (2020). Development of a 2D Digital Animation for Yorùbá

Folktale Narrative. International Journal of Art, Culture and Design

Technologies Volume 9. https://orcid.org/0000-0002-8186-1640

Okun and Zwerman, (2010). The VES Handbook of Visual Effects

Industry Standard VFX Practices and Procedures.Taylor and Francis.

Stephen, Prince (1996). True Lies: Perceptual Realism, Digital Images, and Film

Theory. Vol. 49, no. 3. Online.

Surman, David. (2003). Animation: Pseudorealism, Perception and Possible

Worlds.

Filmography

Roye Okupe (Director/Writer/Creator). (2020). Queen Malika (Animation). YouNeek Studios.

Downloads

Published

2022-05-09

How to Cite

Ajiwe, U. C., & Nwofor, S. U. (2022). Perception of Computer Generated Images (CGI) in Nigerian made animated films: A cognitive-semiotic view. Journal of Communication, 3(1), 1–19. https://doi.org/10.47941/jcomm.860

Issue

Section

Articles